A little more than a year ago, I gave a talk at Oxford fortnightly seminar on The Bible in Art, Music, and Literature (hosted by the Centre for Reception History of the Bible). Once upon a time, I’d have posted the transcript of the talk here right away, but no longer being a diligent blogger, I left that in abeyance. It would be handy, though, for the blog to link to the paper — so here is a link to the paper at academia.edu which should last for a while, together with a taster paragraph to convey part of what I was getting at in the discussion (sadly, probably much less convincing without the accompanying visual presentation):
No one signifying practice controls a uniquely privileged methodological or ethical key to interpretive legitimacy; within each interpretive practice, indigenous conventions will raise up some interpretations as sounder and more compelling, and will discountenance others as uninteresting, poorly-executed, unsound. In order to have made sense of everything we have experienced in all our lives, we must have had viable conventions and criteria by which we venture and assess interpretations. The same capacities will serve us well as we undertake interpretations of the Bible; though we may falter at first, and err more often than we would like, we will in short order be able to acclimatise ourselves to interpretations authorised on the strength of characteristics that do not depend primarily on their deference to an unreachable “correct” meaning.